Such is the strength of the ECM aestheticvisually as well as musicallythat it's one of very few record labels in the history of jazz that is referred to describe a person's musical tastes. The northern European jazz sound which Manfred Eicher
has made synonymous with his fabled labelcool, spacious, pastoralcolors the majority of ECM releases, so it's something of a surprise to be confronted by guitarist Terje Rypdal rocking out, backed by the seventeen-piece Bergen Big Band, crashing drums, swirling Hammond-B 3, and a touch of psychedelia to boot.
Rypdal's continuous, hour-long commission was recorded live in Bergen at the Natjazz Festival, May 2009, though audience applause has been edited out, leaving the listener to wonder how the audience reacted, and whether its response would have added to the atmosphere of the recording. The use of snippets of dialog from films such as The Godfather (1972), The Good, The Bad and The Ugly (1966), Silence of the Lambs (1991) and, oddly, Back to The Future (1985), for the most part complement the brooding, film-noir segments of the music rather well, though the music would have no doubt worked admirably without the need for such sympathetic manipulation. This is, however, less a concept album than a quite striking orchestral work. At times the large ensemble sounds like a Charles Mingus
's Arkestra, particularly on the restless "Prime Suspects" with its brass shrieks and squalls, brooding bass clarinet and rattling drums, or on "The Criminals," where tenor saxophones spiral together in open duel.
In the quieter sections, a lush, soothing Gil Evans
-esque mood pervades the music, notably on "It's A Fact" and "It's Not Been Written Yet." On this latter piece, the various sections of the big banddirected by Olav Daleplay against each other like voices in a choir, pierced by guitar and trumpet, though momentum is somewhat lost with a rather long spoken segment from a gangster movie. Rypdal's fondness for electric-period Miles Davis
, flavors much of the music with the spirit of Miles. Muted trumpet echoing eerily, a dark, brassy undertone and a tension never quite resolved combine to evoke the slow passages of Davis' Jack Johnson, (Columbia, 1971) particularly on "The Good Cop" and "One of Those."
There are plenty of surprises too; the window-rattling rock workout of "Don Rypero" and "Action" see Rypdal unleash grinding, searing solos. The jazz-rock aesthetic comes to a boil on "Investigation" where Mikkelborg blows fiercely and unreservedly and Ståle Storløkkena significant presence throughouturges swirling, moody cries from his Hammond B-3.
The eclectic components of Crime Scenepart soundtrack, part orchestra suite, part avant jazz, part rockmerge into a fairly seamless whole which transports the listener through a range of contrasting emotions. Rypdal's fertile imagination is given full voice by the splendid Bergen Big Band and the performance of the entire ensemble is notable. As for the missing applause, well, it shouldn't be too challenging to imagine.
Track Listing: Clint--The Menace; Prime Suspects; Don Rypero; Suspicious Behaviour; The Good Cop; Is That A Fact; Parli Con Me?!; The Criminals; Action; One Of Those; It's Not Been Written Yet; Investigation; A Minor Incident; Crime Solved.
Personnel: Terje Rypdal: Electric guitar; Palle Mikkelborg: trumpet; Ståle Storløkken: Hammond B-3 organ; Paolo Vinaccia: drums, sampling. Bergen Big Band: Olav Dale: director, flute, piccolo, alto flute, bass clarinet; Jan Kåre Hystad: alto flute, clarinet, bass clarinet; Ole Jakob Hystad: tenor saxophone, clarinet; Zoltan Vincze: tenor saxophone; Michael Barnes: baritone saxophone, bass clarinet; Martin Winter: lead trumpet, flugelhorn; Svein Henrik Giske: trumpet, flugelhorn; Are Ovesen: flugelhorn; Reid Gilje: flugelhorn; Øyvind Hage: lead trombone; Sindre Dalhaug: trombone; Pål Roseth: trombone; Kjell Erik Husom: bass trombone; Ole Thomsen: electric guitar; Helge Lilletvedt: electric piano; Magne Thormodsæter: double-bass, electric bass; Frank Jakobsen: drums, percussion.